This is the first monograph from a scientific perspective dealing with the String Quartets composed in Spain from the eighteenth century up to the present. It is the outcome of the research and thorough study of specific works, undertaken by twenty-one musicologists, archivers and performers, together with four Spanish composers. It aims both to offer an overview of the current state of research on the primary and secondary sources available, and to trace the history of the genre by examining its genesis, development and reception in the European context. All this fosters an understanding of: (1) the position of the genre in Spain from its emergence until nowadays, (2) its aesthetics and main compositional features in each period, (3) its idiosyncratic peculiarities, and (4) the particular challenges that it has posed along its history. In addition, other goals are: to banish some prejudices about Spanish chamber music, to contribute to the recuperation of a significant part of the Spanish musical heritage, and to provide scholars and performers with the musical sources, aiming at facilitating the knowledge and diffusion of a corpus of noteworthy yet barely known works.
Der Band befasst sich mit der Entwicklung des Streichquartetts in Spanien vom achtzehnten Jahrhundert bis zur Gegenwart. Er enthält 24 Studien zu Komponisten und konkreten Werken aus unterschiedlicher Perspektive und gibt Auskunft über die bis dato lokalisierten Primär- und Sekundärquellen.
A Critical Edition of Conrado del Campo’s String Quartet No. 8, “At the Death of his Mother” (1913): Defining the Scope of the Critical Process through the Creation of a Musically Viable Score for Interpreters (John Stokes)
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A Critical Edition of Conrado del Campo’s String Quartet No. 8, “At the Death of his Mother” (1913): Defining the Scope of the Critical Process through the Creation of a Musically Viable Score for Interpreters1
Conrado del Campo (1878–1953) is “the” great forgotten Spanish composer. Of his string quartets, it has been said that they “constitute the most important body of quartets not only in the twentieth century, but in all the history of Spanish music”.2 Of his fourteen numbered quartets,3 ← 583 | 584 → only no. 5 and no. 13 had been published prior to the year 2000.4 Quartet no. 8 represents the third of his quartets edited so far and then actually performed in concert.5 In fact, the World Premiere of this quartet was ← 584 | 585 → given in 2013 by the Cuarteto Bretón (of which I am the violoncellist), a hundred years after its composition.6
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